#16
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#17
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Nice. I'd never tried that before.
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"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten) |
#18
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Amy...
Since you've already done Ain't Misbehavin' you might want to try something that moves the same ay to start. Liza All the Clouds'll Roll Away was written by George Gershwin in '28 or '29, a year after Fats Waller wrote his take on the ascending changes. Waller: https://youtu.be/EtfXnwi_Njo Gershwin: https://youtu.be/R9dyWCZDvfg Gershwin double-timed the changes and altered the bridge. Here's a link to a fantastic piano tickler working the Gershwin: https://youtu.be/nZlJA2JB2oI A lot of what I put into my guitar arrangements come from the modulations I hear from piano pickers.
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Harmony Sovereign H-1203 "You're making the wrong mistakes." ...T. Monk Theory is the post mortem of Music. Last edited by Wyllys; 05-24-2017 at 01:54 PM. |
#19
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Seems like a descending melody line on over a G chord (e.g. 3xx003 - 3xx002 -3xx000). I'd probably use G - Bm - C, but as always choices depend on the context.
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#20
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3 x 5 4 3 x 3 x 4 4 3 x 3 x 2 4 3 x 4 x 3 4 3 x or 7 x 5 7 8 x 7 x 5 7 7 x 7 x 5 7 5 x 6 x 5 6 5 x or...
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Harmony Sovereign H-1203 "You're making the wrong mistakes." ...T. Monk Theory is the post mortem of Music. |
#21
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I geeked out real hard on triads about a year and 1/2 ago. I think they very easily can structure a framework for approaching solo guitar playing , whether it's arranging , playing by ear or from a chart.
I'm particularly interested in being able to play from a chart on-the-fly, the way pianists do from fake books etc. I honestly believe triads are probably the most solid basis for getting closer to that goal. Anyway, I started a blog on this, but kind of got distracted from doing it for a few months . Anyway, I appreciate anyone's thoughts. Still working on a lot of these concepts, but I have basic ideas for creating chord scales for each chord type etc. Here's an example of playing something from a chart I have at church. Didn't really work out so much ahead, other than reading through loads of other tunes: https://youtu.be/N8whc17MZso and rough blog beginnings: .... http://chordsologuitar.com/ Last edited by mattbn73; 05-24-2017 at 03:00 PM. |
#22
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Where was not specified but it seems to be a descending melody line or base line rather than chord changes. Question would be if it is really necessary, or even appropriate, name out a new chord each time the melody moves on to a different note. It would be quite a mess notating that in a score.
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#23
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From there, I started replaying all the songs I already knew, but forcing my self to use only the triads, and this was just to further reinforce the internal memorization and muscle memory of the sound of each shape. When I wasn't immersed in memorization, I was sticking an inversion into my songs at various spots to add the variety in sound. At one point i connected the idea of using the shape location as a marker for where to start playing when it was my turn to solo on a break. This turned the corner for my confidence in taking solo breaks because I'd start right in stead of wrong and have a better chance to keep going right. I. Love. Triads.
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amyFb Huss & Dalton CM McKnight MacNaught Breedlove Custom 000 Albert & Mueller S Martin LXE Voyage-Air VM04 Eastman AR605CE |
#24
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In "it's been a long long time", I play the opening chords as: 32XX33 (working the G & B strings as part of the melody line) 3X44X3 ( melody one the same strings as above) 32X43X (i think that's the right finguring; working the D string for the melody) and , correction, I follow it with a m6 not a dim: 23X33X (i think is right shape)
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amyFb Huss & Dalton CM McKnight MacNaught Breedlove Custom 000 Albert & Mueller S Martin LXE Voyage-Air VM04 Eastman AR605CE |
#25
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Everything serves the melody...
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Harmony Sovereign H-1203 "You're making the wrong mistakes." ...T. Monk Theory is the post mortem of Music. |
#26
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"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten) Last edited by SunnyDee; 05-24-2017 at 03:51 PM. |
#27
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I spent a solid few weeks on triads and voice leading. I could see the potential, but then I came to conclusion that I really needed to start just learning more songs, building a repertoire and (along the way) building my left/right hand technique (I was getting mighty bored of the songs I already knew). I also found that moving between triads was cool, sounded good, but lacked melody, because the melody often separates itself from the triad. It seemed more useful to me to understand the intervals across all six strings for the chord of the moment, as limiting myself to 3 or 4 adjacent strings was... well... a limitation. Often I wanted a lower bass note, or even an open string involved. Don't get me wrong, triads are freaking cool, and it's still been complementary to my fretboard knowledge but for fingerstyle solo arrangements I didn't see them quite as useful. They seem more useful as an accompaniment to other instruments/vocals or as a tool for soloing. I'm probably totally wrong here, so please correct me! |
#28
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I find taking the songs I have down and putting them in other keys is also helpful. And it's no small thing to mention building LH/RH technique as so much of what you do with the fingers of the picking hand will be influencd or flat-out dictated by what the LH is doing.
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Harmony Sovereign H-1203 "You're making the wrong mistakes." ...T. Monk Theory is the post mortem of Music. |
#29
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Just the other day I learnt a song with a very simple G > D7. Piece of piss right? But no song I currently knew had that particular chord change with the same fingering, so my muscle memory hit a brick wall. Of course, it didn't take very long to learn, but it highlighted to me that you just can't always learn every situation through exercises. Instead you just gotta start playing songs. Plus, it's more fun. |
#30
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For me, I think the magic beanstalk was way I made myself use triads in practice to play songs I already knew with more traditional chords. It led to my ability to intermix them at will in my arrangements, and even on the fly in a jam. For sure they don't stand alone for a whole song, except in some exceptions , but what appeals to me the infinite nature of the variety they make possible in a way that is really accessible. By really accessible, it is the moveable state of six simple shapes that. Move in predictable patterns even within their variable nature. Ok that was wordy. Sent from my iPad using Tapatalk
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amyFb Huss & Dalton CM McKnight MacNaught Breedlove Custom 000 Albert & Mueller S Martin LXE Voyage-Air VM04 Eastman AR605CE |